Let’s break it down.
In addition to the lectures outlined below, each student will be creating and strengthening three pitches. One feature film, one limited series and one ongoing scripted series.
There will be a minimum of 3 guest lectures per course. When students hone in their skills they will have the opportunity to pitch their work to a film executive.
Past and potential future lecturers include:
David Simkins (Showrunner)
Adam Mazer (Emmy Award Winning writer if You Don’t Know Jack)
Peter Iliff (Writer of Point Break and Friday Night Lights)
Boaz Dvir (award winning documentary director)
Mark Canton (Producer of 300, Power)
David Hopwood (Producer of Den of Thieves)
Ray Jimenez (Manager at Zero Gravity)
And many, many more…
Week 1
What is Writing on Assignment?
In our first week, we’ll introduce ourselves to the class, syllabus, course expectations, and objectives. We’ll also explore writing on assignment and how it diverges from writing for passion, but how you also must also work to find a middle ground. What exactly is writing on assignment? How do you even get these jobs?
Week 2
The Landscape. Who Provides Assignments? What type of Executives will I be dealing with?
In week two, we will be pitching the very first of our ideas to myself and the class and have your first opportunity to “fly blind.” You are to deliver something in roughly five minutes that I’m going to respond to while also proving that there is no one better than you to write this idea!
Week 3
Basic Assignment Knowledge, Executive structure, Bizarre notes
In week 3, we will discuss Executive structure and a "warm room." It is very important that you have a basic entertainment business understanding when being sent into these rooms the first time and that you don’t seem completely “green.” This is the primary reason I have selected the readings that I have for you, which may seem like they have “little to do” with writing on assignment. Trust me, it’s all connected.
Week 4
Room Tone , Warmth of Rooms, Pitching does play into this.. how?
Much of the assignment process and your success in business of entertainment will be determined by how well liked you are. It really is that simple. If you’re depending on assignment to get paid, you unfortunately cannot just stay at home and write masterfully. There is an intrinsic need of being personable and being able to “work the room.” During week 4, we’ll explore the aspect of being in a room, pitching your ideas and finding common ground.
Week 5
How do you get in the door?
This 5th lesson will focus on intensifying your knowledge of how to get in the door of the business. Producers and Representatives (Managers, Agents) will be a crucial part of this process. It is up to you to build relationships with them and impress them with your consistency, personality and of course, talent.
Week 6
Your Take, Writers DNA, What is your angle? Who are your characters?
The 6th lesson will focus on your take on the material. It needs to be distinctive, original but ring true to your own voice and experiences. A writer’s DNA is the thing that makes them uniquely positioned to tell a specific story. Your angle into the story is what will set you apart, and why they will choose your take.
Week 7
The Meeting, Preparing for Your Executive Meeting, How to Win Them Over
The session will focus on the preparation process and the first meeting with the executives. I will share with you how I prepare as a producer for these meetings, and will also bring in a very talented writer who will explain how they prepare for these meetings. Being personable and yourself is key, but how exactly do we do this? We will explore how to best navigate these often tricky scenarios.
Week 8
Staying on Track, Getting into the Legal, Dealing with bumps in the road, How to not blow the job
The session will focus on the events that transpire after a successful first meeting. You are contacted, hired for the job, and then you must deliver creatively, as well as on the business side. You need to make sure to tactfully navigate the waters of the legal world, too, while displaying poise when dealing with any problems. Hint: there will likely be problems.
Week 9
Delivering The Goods, Distinction in Notes
The session will focus on the note giving/development process and the actual writing & pitching execution. The steps that involve receiving notes can be laborious and confusing and can seem never ending. It is important to focus on who is giving the notes (is it a producer, representative, production company, network or studio executive, and at what level?) Sometimes, notes conflict and you have to make your best judgement about what works within the creative and what is actually achievable. At every step of the way, you must make sure you can communicate your ideas in an intelligible way, therefore you’re never really ever finished pitching.
Week 10
Final Pitches! You will be presenting your full deck to the class. Make it count … No pressure, or anything.